seek out new music and musicians that I think have potential ,” he says .
When he reflects on some of the major successes of “ team Echoplant ” members , as his clientele has lovingly been dubbed – particularly those of artists like Dear Rouge and Van Damsel , who began their relationships with Worsley long before their profiles had reached the national level – he humbly says it “ could be coincidence ” that so many started their careers at the studio . Not likely .
“ One of my main goals in working in this industry and working as a producer is to find new music that I think has potential and develop it ,” he says – from songwriting to production to shaping an overall sonic identity . “ That ’ s what I find the most rewarding .”
Now operating out of two spaces , one of them featuring a secondfloor living space reserved solely for use by clients , Worsley is better set than ever to cultivate talent . At Studio A , Worsley essentially reversed his layout and turned his previous tracking room into a mixing suite and the cozy control room was converted into an iso room for overdubs .
He recently had a staple of what ’ s now Studio A , Dear Rouge , in at Studio B to work on the theme song for the upcoming Global television series Private Eyes , starring Jason Priestley . “ We had an entire film crew plus the band plus all the TV executives here in the studio – I think a total of 17 people ,” he says . “ It was tight , but I was thinking to myself , ‘ There ’ s no way I would have been able to do this at my last space .’” And so here he is , bringing a fresh attitude and workflow to a renowned room with a one-of-a-kind ambiance – a hybrid of new school and old school .
“ There ’ s a battle when you ’ re working out of a home studio , and it ’ s all about perception ,” he muses . “ I often found myself having to … justify being in a non-commercial space , though it certainly got easier after some of my work had been recognized . After that , I guess I stopped caring what people thought . There ’ s a certain point where you just have to do what you do , and some people are going to love it and some people aren ’ t .”
At this point , those in the latter camp are few . Between its two spaces , bookings for Echoplant are presently coming in three or four months in advance , and what ’ s more , it ’ s all music-based . “ I don ’ t have to do anything outside of music to supplement my income . It ’ s been that way for about six or seven years ,” Worsley says proudly . “ I ’ m very lucky to be able to do that , and lucky to be able to do that from here .”
Andrew King is the Editor of Professional Sound .
Ryan Worsley at work
PHOTO : MEAGHAN GIPPS
Gear List
House-built skyline diffusers
Mixing , Monitoring & Software
Mixing , Monitoring & Software Avid Pro Tools HD X12 Apple Mac 12-Core UAD Quad Card w / UAD Plug-ins Lynx Aurora 16 Converters Spiral Groove Studio One Monitors Genelec 1030 Monitors Yamaha NS-10m Monitors Hafler Power Amps Bryston Power Amps
Outboard Gear
Ampex Model 351 Preamp API 512a Mic Preamp Daking Pre / EQ ( x2 ) Empirical Labs Distressor w / Brit Mod ( x2 ) Empirical Labs Fatso Jr . Analog Tape Simulator & Compressor UBK Fatso Mohog Mo76 Preamp Retro Insruments 176 Limiting Amplifier Drawmer 1969 Stereo Preamp Compressor Sebatron VMP-4000e 4-Channel Tube Preamp Chandler TG-2 Preamp Orban 111B Spring Reverb Roland Space Echo RE-201 ( x2 ) Universal Audio LA-610 Vintech 473 Preamp Vintech X73i Mic Preamp ( x2 )
Microphones
PHOTO : STEVEN SHEPHERD
Advanced Audio CM-12 Advanced Audio CM-54 Pencil Condenser ( x3 ) Audix D6 Beyerdynamic M-550 Omni Beyerdynamic m160 Ribbon ( x2 ) Beyerdynamic M88 ( x2 ) Beyerdynamic m-201 CAD M179 ( x3 ) Electro-Voice RE20 Electro-Voice RE15 Electro-Voice 635A ( x2 ) Neumann KM184 Neumann U87 ( x2 ) Royer 121 Ribbon Mic ( x4 ) Josephson C42 ( 2x ) Pearlman TM-1 Tube Condenser Shure SM57 ( x4 ) Shure SM7b ( x2 ) Sennheiser Md-421 ( x2 ) Sennheiser Md-441 Sony C38B
PROFESSIONAL SOUND • 33